This article analyzes the novel Lucy, written by the Antiguan writer Jamaica Kincaid, taking as a starting point a concept of paramount importance to understand women's social position and the complexity of their identity construction: intersectionality. The mother daughter relationship is considered as a relevant component in such construction. Given the fact that Lucy, the protagonist of the novel, is a migrant woman (like Kincaid), the analysis also takes this reality into account and its close relation with the intersectional categories presented here (especially, race and nationality). Furthermore, a connection is established between author and character through a dynamic interplay of factors that enables both to reclaim their identity and, consequently, their place in the world. Therefore, given the novel’s autobiographical elements, this analysis proposes to place it in dialogue with a piece written by Kincaid after the publication of Lucy, in order to examine her position as a non-white migrant today.
The present article studies the relationship between different categories of margin in the performance Zone of pain II, “Loving work with a refugee of the Santiago’s asylum” and knowned as “The kiss” (1981), by the Chilean writer and artist Diamela Eltit. The performer talks to a beggar with a psychiatric disease, an outsider out of the market in a capitalist and neoliberal world. Besides, the performer kiss him. Throw this perfornace, the artist puts in the middle of the scene the social and economic margin, which capitalist society rejects. She also recovers the city, a city under a state of siege, and her body, as a performer and as a feminist artist. We consider to this analysis the concept of cadboard of Walter Benjamin, sinde the literary studies; the performance studies, specifically in Latin America, with central characteristics as body and city; genre studies with its importance of the body; the contribution of marxist feminism in particular, which distinguishes the divition beetwen productive and reproductive works and care tasks, division that performance and “loving work” critics, in a general critic of traditional roles and mandates imposed to women. The performance is also a form of criticism (and of resistance) of the Chilean dictatorship (1973-1990).
This article analyzes the tonal patterns of Costa Rican immigrants in Chile compared to Chilean and native Costa Rican speakers using WhatsApp audio messages. Immigrants tend to converge towards Chilean prosody in workplace interactions, with a median of 19.06 semitones and a wide tonal range (94.27 Hz to 180.84 Hz). However, they retain aspects of their original prosody when addressing Costa Ricans. The latter exhibit a stable style with less variation (13.84 semitones, 97.07 Hz to 149.34 Hz). The findings highlight the significance of the sociolinguistic context in prosodic adaptation.
